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Emma @ The Movies (1786 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
We left off at the end of John Wick 2 with our lead's imminent excommunication. He's been given an hours grace, in a city that's filled with assassins his odds don't look good, but even for John Wick... bad odds are still pretty good.
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland â currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasnât that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through â just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazonâs The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreavesâ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their fatherâs funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins â their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although itâs hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boysâ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the âstarâ draw amongst the young and mostly unknown cast of âheroesâ. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole â it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesnât take itself too seriously â so that is everyone then! I think itâs allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing â a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. Itâs not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I donât want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys â an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldnât is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I donât see it as any kind of issue.
If you havenât seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, theyâd be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland â currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasnât that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through â just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazonâs The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreavesâ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their fatherâs funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins â their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although itâs hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boysâ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the âstarâ draw amongst the young and mostly unknown cast of âheroesâ. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole â it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesnât take itself too seriously â so that is everyone then! I think itâs allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing â a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. Itâs not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I donât want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys â an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldnât is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I donât see it as any kind of issue.
If you havenât seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, theyâd be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things werenât looking good for this adaptation of the popular Marvel comic.
Letâs not forget that the last time Fox tried to adapt this storyline we ended up with 2006âs The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Menâs film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughnâs adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Menâs most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first â this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. Itâs not perfect, as weâll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesnât really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPheeâs portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Petersâ Quicksilver remains a highlight, though itâs unfortunate heâs cast aside relatively quickly â for fans of his set pieces from the previous two films, youâll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by whatâs going on. âYouâre always sorry, Charles. And thereâs always a speech. But nobody cares anymore!â bites Michael Fassbender at one point in the film â perhaps heâs onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material sheâs given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but sheâs a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastainâs horrifically underwritten villain wastes a fabulous actor in a thankless role â much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, youâd be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, itâs a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. Itâs clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what weâve seen before. Closer to the comics they may be, but thatâs not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and thatâs a real shame because the special effects are top-notch. Mercifully, Hans Zimmerâs score is wonderful. The soaring orchestral soundtrack works brilliantly with the film â itâs probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we wonât spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. Itâs a shame then that the film offers up nothing new to the table despite some committed performances â this Phoenix just doesnât quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Letâs not forget that the last time Fox tried to adapt this storyline we ended up with 2006âs The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Menâs film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughnâs adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Menâs most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first â this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. Itâs not perfect, as weâll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesnât really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPheeâs portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Petersâ Quicksilver remains a highlight, though itâs unfortunate heâs cast aside relatively quickly â for fans of his set pieces from the previous two films, youâll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by whatâs going on. âYouâre always sorry, Charles. And thereâs always a speech. But nobody cares anymore!â bites Michael Fassbender at one point in the film â perhaps heâs onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material sheâs given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but sheâs a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastainâs horrifically underwritten villain wastes a fabulous actor in a thankless role â much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, youâd be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, itâs a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. Itâs clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what weâve seen before. Closer to the comics they may be, but thatâs not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and thatâs a real shame because the special effects are top-notch. Mercifully, Hans Zimmerâs score is wonderful. The soaring orchestral soundtrack works brilliantly with the film â itâs probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we wonât spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. Itâs a shame then that the film offers up nothing new to the table despite some committed performances â this Phoenix just doesnât quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Andy K (10821 KP) rated Poltergeist (1982) in Movies
Oct 25, 2019
The TV People!
When the Freeling family moved into their suburban California home, little did they know what they were getting themselves into! Minor oddities began showing themselves like chairs stacking in the kitchen lights flashing or even being pulled across the kitchen floor. It felt like a "tickle". The situation quickly grows more severe as a tree outside the children's room plunges inside and tries to ingest son, Robbie. Simultaneously, a gateway of sorts opens in the children's room eventually pulling the entire contents into its closet vortex including youngest daughter, Carol Anne.
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! đ
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! đ
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Golf Coach is a ground breaking golf instruction app. Winner of both UK and US App Design Awards...
Josh Burns (166 KP) rated Spartacus: A Game of Blood and Treachery in Tabletop Games
Jun 20, 2019
Easy to learn but a ton of fun (1 more)
Great strategy and combat
I had my eye on this game for a while before finally pulling the trigger and ordering it a few years ago. I had little faith in a game based on a tv show, but I love gladiator games and there aren't many to choose from.
The base game is 3-4 players, there are expansions that increase that, but I'm sticking with the base game for this review. Each player controls a different House, which have their own stats, abilities, and alternate objectives, with the main objective being to reach 10 influence.
The game plays basically as follows:
Upkeep phase: collect money, try to heal wounded gladiators, and reactivate slaves that were used.
Market: A number of cards are drawn and placed face down, then one card is flipped. It could be a gladiator, a slave (can earn you money and may have abilities that are useful outside the arena) or gear for your gladiators. All players choose how many coins to bid and keep them in a closed fist until everyone is ready, then everyone reveals their bid. Whoever was highest wins. You then repeat till each card is flipped. You can also put your own cards up for auction or offer trades.
the arena: after this, 2 players chosen by another player have to either fight each other, pitting a slave or gladiator against the oppents, or forfeit at the cost of Influence. Players may place bets on who will win and if the loser will be killed, or badly injured.
The game is basically 2 games in 1: outside the arena and in it.
Outside: It is primarily about making deals, lying, setting each other up, making temporary allies and backstabbing. Literally the only rule in the actual rulebook about how to go about this is: "Don't be a dick. " It actually says that, and says they mean keep it fun, don't actually try to be a spiteful douche. There is nothing directing you when to lie or be honest, if you have to keep promises, etc.
In the arena: Combat is fun and simple. Not all fighters are equal but I have seen weak ones overcome the odds. If you're a fan of the show you will recognize many names. As a quick sidenote, an expansion can turn these fights from 1 vs 1 to 2 vs 2. I've won hard fought games, and I've lost on purpose to win a bet or fulfill a deal. Your fighter may or may not die or be injured. The player who chose the participants also decides the fate of the losing fighter (if they didn't die fighting) with a thumbs up or down. The player with the losing fighter can plead for the fighters survival or bribe, or maybe the player chosing wants the losing player to owe them a favor. There is never a clear cut choice.
In conclusion: This is a favorite of mine. It is unbelievably fun making deals (whether you keep them or not) bribing, setting players against each other etc. The combat is fun and easy to learn and the other players are typically screaming at whoever they want to win if they aren't doing well (in good fun, not actual anger). I can't think of anything to not like about it. If you like the show you'll love references such as the "Jupiter's Cock" card and seeing all the characters (slaves, gladiators, and dominas). If you don't like the show, it's still a hell of a game and you don't need to watch the show to know what's going on.
The base game is 3-4 players, there are expansions that increase that, but I'm sticking with the base game for this review. Each player controls a different House, which have their own stats, abilities, and alternate objectives, with the main objective being to reach 10 influence.
The game plays basically as follows:
Upkeep phase: collect money, try to heal wounded gladiators, and reactivate slaves that were used.
Market: A number of cards are drawn and placed face down, then one card is flipped. It could be a gladiator, a slave (can earn you money and may have abilities that are useful outside the arena) or gear for your gladiators. All players choose how many coins to bid and keep them in a closed fist until everyone is ready, then everyone reveals their bid. Whoever was highest wins. You then repeat till each card is flipped. You can also put your own cards up for auction or offer trades.
the arena: after this, 2 players chosen by another player have to either fight each other, pitting a slave or gladiator against the oppents, or forfeit at the cost of Influence. Players may place bets on who will win and if the loser will be killed, or badly injured.
The game is basically 2 games in 1: outside the arena and in it.
Outside: It is primarily about making deals, lying, setting each other up, making temporary allies and backstabbing. Literally the only rule in the actual rulebook about how to go about this is: "Don't be a dick. " It actually says that, and says they mean keep it fun, don't actually try to be a spiteful douche. There is nothing directing you when to lie or be honest, if you have to keep promises, etc.
In the arena: Combat is fun and simple. Not all fighters are equal but I have seen weak ones overcome the odds. If you're a fan of the show you will recognize many names. As a quick sidenote, an expansion can turn these fights from 1 vs 1 to 2 vs 2. I've won hard fought games, and I've lost on purpose to win a bet or fulfill a deal. Your fighter may or may not die or be injured. The player who chose the participants also decides the fate of the losing fighter (if they didn't die fighting) with a thumbs up or down. The player with the losing fighter can plead for the fighters survival or bribe, or maybe the player chosing wants the losing player to owe them a favor. There is never a clear cut choice.
In conclusion: This is a favorite of mine. It is unbelievably fun making deals (whether you keep them or not) bribing, setting players against each other etc. The combat is fun and easy to learn and the other players are typically screaming at whoever they want to win if they aren't doing well (in good fun, not actual anger). I can't think of anything to not like about it. If you like the show you'll love references such as the "Jupiter's Cock" card and seeing all the characters (slaves, gladiators, and dominas). If you don't like the show, it's still a hell of a game and you don't need to watch the show to know what's going on.
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BackToTheMovies (56 KP) rated Child's Play (2019) in Movies
Jun 21, 2019
After moving to a new city, young Andy Barclay receives a special present from his mother. A seemingly innocent Buddi doll that becomes his best friend. When the doll suddenly takes on a life of its own, Andy unites with other neighborhood children to stop the sinister toy from wreaking bloody havoc.
For months Iâve been hating on this reboot. Whilst I still donât necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Childâs Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Hereâs my Childâs Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chuckyâs murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Childâs Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TVâs to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. Heâs programmed to be Andyâs best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does thereâs a loneliness about Andyâs character that almost seems to justify Chuckyâs behavior. He doesnât agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Childâs Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls itâs harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chuckyâs infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great Itâs just a shame I canât take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! Iâm not quite sure what look they were going for with this but it certainly isnât a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I canât picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. Itâs like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Childâs Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Childâs Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. Iâve seen Aubrey in comedies where her humor never really hits home in any roles sheâs in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film sheâs in. Playing Andyâs mum in this film doesnât work for me whatsoever. Thereâs no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesnât play a key role as such to Andyâs arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative itâs how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Childâs Play may even persuade the die-hard fans to enjoy this one. It shouldnât really be compared to the originals in any way shape or form although it does have an 80âs flair to it. Childâs Play has taken a new direction but has stayed relevant to modern times and whilst itâs taking a different path than the upcoming TV series, itâs safe to say Chucky really is back!
Thanks for checking out my Childâs Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
For months Iâve been hating on this reboot. Whilst I still donât necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Childâs Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Hereâs my Childâs Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chuckyâs murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Childâs Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TVâs to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. Heâs programmed to be Andyâs best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does thereâs a loneliness about Andyâs character that almost seems to justify Chuckyâs behavior. He doesnât agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Childâs Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls itâs harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chuckyâs infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great Itâs just a shame I canât take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! Iâm not quite sure what look they were going for with this but it certainly isnât a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I canât picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. Itâs like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Childâs Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Childâs Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. Iâve seen Aubrey in comedies where her humor never really hits home in any roles sheâs in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film sheâs in. Playing Andyâs mum in this film doesnât work for me whatsoever. Thereâs no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesnât play a key role as such to Andyâs arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative itâs how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Childâs Play may even persuade the die-hard fans to enjoy this one. It shouldnât really be compared to the originals in any way shape or form although it does have an 80âs flair to it. Childâs Play has taken a new direction but has stayed relevant to modern times and whilst itâs taking a different path than the upcoming TV series, itâs safe to say Chucky really is back!
Thanks for checking out my Childâs Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
Kristy H (1252 KP) rated The Sunshine Sisters in Books
Jan 21, 2018
Good beach read
Ronni Sunshine has summoned her daughters home. The aging actress is ill, and she wants her daughters by her side. This, however, will be easier said than done, as her three children--Nell, Meredith, and Lizzy--are estranged, both from each other and their mother: the result of a traumatic childhood. Even Ronni will now readily admit she focused on her acting career and beauty rather than her daughters. Her constant belittlement and pressure on the girls made them turn on each other as well. Nell lives the closest to her mother, on a nearby farm, and her son River is in grad school. Middle child Meredith spent her childhood struggling with her weight, thanks to endless biting comments from Ronni; she fled to England and is now engaged. Youngest Lizzie escaped most of her mother's wrath and appears to be the "golden child": she's a successful chef and celebrity, with a TV show and line of related products, but her marriage and personal life aren't all that they seem. Frustrated by their mother's long history of hypochondria, the girls reluctantly return home, excepting to find her fine. However, it seems this time Ronni may be telling the truth: she's really sick. Can the Sunshine sisters set aside their differences? And can they ever forgive their mother?
In some ways, I'm not sure why I keep giving Jane Green books a chance. I liked Summer Secrets well-enough, but was really let down by Saving Grace and Falling. I was intrigued that in her acknowledgements, Green mentions that this is the first book in while where she's felt like herself. I went in hoping that this was true, but still wary, and truthfully, this wariness may have clouded some of my thoughts and feelings about the book.
Overall, this is a summery read, though it does deal with some serious subject matter. If you're looking for a book that will surprise you, this isn't it. Most of these plot points I saw coming from a few miles away; I predicted the majority of the twists and turns before they happened. And, truly, I think the ending is a foregone conclusion. Green relies a bit to heavily on some tropes, as well. Serious older sister? Check. Insecure middle sister? Check. Flighty younger sister? She's here, too, don't worry.
Still, this was a fun book--despite the dark topic at its core--and I found myself compelled to read through the second half in nearly one sitting. Despite some of the transparency of the characters, I was oddly invested in their lives. The novel starts out with a brief glimpse of Ronni summoning her daughters home, then goes back in the past, allowing us to learn about the Sunshine family via various snippets from the sisters at different points in time. In this way, we sort of catch up with the family fast-forward style--it's like a cheat sheet of sorts. It also allows us to get to know each sister a bit better and explore their relationship with their mother (and other sisters). It's easy to see how much influence Ronni had on their lives and how she shaped them into the women they are today.
The girls can certainly be frustrating at times. Poor, needy Meredith drove me nearly mad, with her insecurities and inability to stand up for herself. There's also a point in the book where Meredith magically cleans up after a party (everything is fixed) and later loses a large amount of weight (everything is fixed, again!). I would have liked to have seen a little more plot realism. It was also hard to see how anyone could be quite as big of a doormat as Meredith, even with her mother's influence. And, truly, Ronni is pretty bad. It's an interesting technique--learning how terrible of a mother she is after we're told in the beginning of the novel that she's sick. But, in this way, we're allowed to see how the sisters were alienated by their poor upbringing and how everyone has reached the point we are at today.
Eventually, we reach the present day, with the girls learning about their mother's illness and coming to grips with reality. And, Ronni, of course, must grapple with the kind of mother she was to her children. She's a surprisingly compelling character considering how awful she was to her children, so that's a testament to Green's characterization. To me, the novel picked up a bit more in the present day time period. There were still some silly, unbelievable moments, but I truly did find myself invested in Meredith, Nell, and Lizzy (and Ronni).
The book does wrap things up too easily, as I stated. It's often quite trite and cliche, so you have to go in prepared. Think Lifetime movie, wrapped up in a bow. Still, it's fun at times and certainly a quick read. Well-suited for the beach or a vacation.
I received a copy of this novel from the publisher and Netgalley (thank you!).
In some ways, I'm not sure why I keep giving Jane Green books a chance. I liked Summer Secrets well-enough, but was really let down by Saving Grace and Falling. I was intrigued that in her acknowledgements, Green mentions that this is the first book in while where she's felt like herself. I went in hoping that this was true, but still wary, and truthfully, this wariness may have clouded some of my thoughts and feelings about the book.
Overall, this is a summery read, though it does deal with some serious subject matter. If you're looking for a book that will surprise you, this isn't it. Most of these plot points I saw coming from a few miles away; I predicted the majority of the twists and turns before they happened. And, truly, I think the ending is a foregone conclusion. Green relies a bit to heavily on some tropes, as well. Serious older sister? Check. Insecure middle sister? Check. Flighty younger sister? She's here, too, don't worry.
Still, this was a fun book--despite the dark topic at its core--and I found myself compelled to read through the second half in nearly one sitting. Despite some of the transparency of the characters, I was oddly invested in their lives. The novel starts out with a brief glimpse of Ronni summoning her daughters home, then goes back in the past, allowing us to learn about the Sunshine family via various snippets from the sisters at different points in time. In this way, we sort of catch up with the family fast-forward style--it's like a cheat sheet of sorts. It also allows us to get to know each sister a bit better and explore their relationship with their mother (and other sisters). It's easy to see how much influence Ronni had on their lives and how she shaped them into the women they are today.
The girls can certainly be frustrating at times. Poor, needy Meredith drove me nearly mad, with her insecurities and inability to stand up for herself. There's also a point in the book where Meredith magically cleans up after a party (everything is fixed) and later loses a large amount of weight (everything is fixed, again!). I would have liked to have seen a little more plot realism. It was also hard to see how anyone could be quite as big of a doormat as Meredith, even with her mother's influence. And, truly, Ronni is pretty bad. It's an interesting technique--learning how terrible of a mother she is after we're told in the beginning of the novel that she's sick. But, in this way, we're allowed to see how the sisters were alienated by their poor upbringing and how everyone has reached the point we are at today.
Eventually, we reach the present day, with the girls learning about their mother's illness and coming to grips with reality. And, Ronni, of course, must grapple with the kind of mother she was to her children. She's a surprisingly compelling character considering how awful she was to her children, so that's a testament to Green's characterization. To me, the novel picked up a bit more in the present day time period. There were still some silly, unbelievable moments, but I truly did find myself invested in Meredith, Nell, and Lizzy (and Ronni).
The book does wrap things up too easily, as I stated. It's often quite trite and cliche, so you have to go in prepared. Think Lifetime movie, wrapped up in a bow. Still, it's fun at times and certainly a quick read. Well-suited for the beach or a vacation.
I received a copy of this novel from the publisher and Netgalley (thank you!).